[tailgunner]

marota asta cu "dezvoltarea personajelor" e iritanta. nu intotdeauna trebuie sa se dezvolte, nu intotdeauna e nevoie de story-arc pentru protagonist. dimpotriva, Coenii au mers intotdeauna pe apasatul obsesiv pe o o clapa-doua ale unui personaj. in NCFOM avem o peroada scurta, o saptamina- doua, in care practic cadem alaturi de oamenii astia. ce sa se dezvolte? tocmai faptul ca Moss ramine acelasi il face veridic. el e un good old boy, good for nothing, care se exprima lapidar dar cu umor cinic, si care da peste doua milioane de dolari. Ii ia desi stie in ce se baga. In carte, si asta nu stiu cit de bine e translat in film, McCarthy sugereaza ca Moss simte ca intr-una din zilele astea oricum o s-o-ncurce, asa ca de ce nu acuma. altfel, scriitura e curata si taioasa ca o lama de cutit, si Coenii au gasit exact limbajul cinematografic potrivit: romanul nu se deda mai deloc la introspectii, si nici filmul nu se preocupa de complexitati de care ar avea pasamite nevoie spectatorul mai cu kultura.

Iar despre dialoguri, I beg to differ. or fi ele laconice, dar sint dementiale:

Carla Jean: "Three o'clock"
Llewelyn: I can come back later.
...
CJ: Where did you get that pistol?
LM: At the gettin' place.
...
CJ: Where have you been all day?
LM: Went to get you some cigarettes
CJ: I don't even want to know. I don't even want to know what all you've been up to.
LM: That'll work.


CJ: You want me to get on a bus and go to Odessa
LM: You are getting on a bus and going to Odessa
CJ: What am I supposed to tell Mama?
LM: Well, try standin in the door and hollerin: Mama, I'm home.
CJ: Where's your truck at?
LM: Gone the way of all flesh. Nothing's forever.


Shopkeeper: Will there be somethin else?
Chigurh: Will there?
S: Is there something wrong?
C: With what?
S: With anything?
C:Is that what you're asking me? Is there something wrong with anything?